While the widespread influence of William Morris' Arts and Crafts movement confirms its importance and success, its failure to create truly affordable handcrafted goods for everyday use and everyday people eventually inspired a manufacturing revolution. Since the early twentieth-century, mass-produced objects or interior complexes assembled with specific design vocabularies have stimulated a major consumer industry, mediated by sales and marketing strategies that intentionally appeal to the broadest possible clientele.Pursuing discussions inspired by Arts & Crafts into the present age, this course will touch on discourses about fashion versus style, 'sham' or kitsch versus high design, the inherent value of crafted versus mass produced items, and innovations in materials or manufacturing techniques that either reflect their own period of time or romanticize the past-all topics that still resonate within the design and manufacturing arena. What began with many regionally inventive streams-including Germany's Bauhaus curriculum, Scandinavia's national romanticist movement, or America's Colonial and Mission revivals--has culminated in mass-marketed brands and ensemble marketing, represented by IKEA, Herman Miller, Ethan Allan, or Pottery Barn (among others). This course surveys various pioneers whose design ethos eventually merged with mass production, reviewing a variety of ensemble design approaches: for example, Peter Behrens, Lily Reich (with Mies van der Rohe), Marcel Breuer, Le Corbusier's Thonet preference, Charles and Ray Eames, the Saarinens at Cranbrook, the reproduction industry that represents Frank Lloyd Wright, Russell Wright, and others. The integration of non-Western influences (characterized in the past as Japonisme, Chinoiserie, folkloric or primitivist), the impact of various international expositions, and the success of the "museum"-store mentality (which made Isamo Noguchi, Alvar Aalto, and others more affordable to a wider audience) will also be introduced.This seminar-style survey concludes with the "Target" approach (featuring architect Michael Graves), as well as some consideration of recycled or 'green' products that are marketed as "environmentally correct." By the end of this class, students will be aware of the major stylistic distinctions, socio-cultural influences, revivals, and shifts in design practices from the eighteenth century to the present in their fields of interior design or decoration. At times this course may be cross-tallied at the graduate level as CAH 6410. Additional work required for graduate level credit is outlined in the course syllabus.